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When a late-medieval or Tudor historian is asked to compare and contrast a historical novel with a scholarly book that both take as their subject Thomas Cromwell, and the latter work has been written by the late G R Elton, the inevitable disclaimer becomes compulsory unless that historian has spent several decades inhabiting a historiographically-isolated cave during the rise and fall of t

One would naturally expect the two books under review, one a history published by an academic press and the other a novel, to be very different treatments of their chosen theme. Yet it is the similarities between them that consistently strike the reader.

Pompeii is the quintessential ghost story, frequently told by archaeological and literary scribes working together in symbiosis, not always for the good. In this multitude of ghost raconteurs novelist Robert Harris stands tall.

For those historians who have studied the English Reformation or the writing of polemics, histories and plays in the 16th century the name John Bale (1495–1563) appears high on the list of English scholars supporting a reformist agenda. Bale popularised the genre of martyrology for an English audience, later taken to its logical conclusion in John Foxe’s Book of Martyrs.

Sir Walter Scott, masquerading both as ‘The Author’, as well as his pompous alter-ego, the historian ‘Dr Jonas Dryasdust’, inserted the following dialogue into the beginning of his historical novel of the Restoration period, Peveril of the Peak (1823):

The challenge in writing a comparative review of Kate Lowe’s fine study of early modern Italian convents Nuns’ Chronicles and Convent Culture with Sarah Dunant’s gripping novel Sacred Hearts is to find ways of making sense of the experience of reading both beyond stating the obvious.